Whether all the changes that began in '89 will continue throughout the new year and make a dent in viewership remains to be seen. But one has a sense that this is a lot of sound and fury signifying nothing. Changes have occurred, to be sure, but who are these people occupying new jobs? Too many times they are the same writers, actors, and producers we heave seen again and again on other soaps. They are hired and rehired because they have experience in the serial format. Often that seems the only reason they're hired. Granted, soaps are a very specialized way of telling story. And given the furious pace, shows need talent familiar with the format. But in constantly rehiring the same people, soaps prohibit the real change they seem so intent on nurturing. Many veteran writers, producers, and actors lack a fresh point of view. They've been toiling in the field for so long that they have tunnel vision. In order for soaps -- and this includes prime-time soaps -- to break through into the nineties, they need to add new talent: writers from other forms of television, film or print who are passionate about the medium, but have a different perspective on characters and storytelling. Soaps have never shied away from hiring totally inexperienced models (when there are many accomplished actors begging for work) and giving them the chance to grow on screen. Why not do the same for writers, who have at least proven their talent in other mediums? Instead of hiring talent who have been fired from other shows, executives need to develop new talent. This is easier said than accomplished. Developing talent takes time and money, two commodities with which networks are notoriously stingy. Still, without new talent, they are in danger of preventing the kind of growth and scope in drama that artists are eager to create, and viewers want to see.